A collection of decorative works, comprising paintings, drawings, cartoons, sketches, and reproductions of paintings by Mr. Edwin Howland Blashfield, Mrs. Mary Fairchild Low, and Mr. Will H. Low : opening Sunday morning, May 21st, 1911 ... at the Forest Park Art Building ...

N

40.1

B644C5

1911

NMAA

SPECIAL EXHIBITION CATALOGUE

CITY ART MUSEUM
OF ST. LOUIS

A COLLECTION OF

DECORATIVE WORKSliY
THREE AMERICAN PAINTERS

SEP 26

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THE CITY ART MUSEUM IS OPEN
TO THE PUBLIC, FREE, EVERY
DAY, INCLUDING SUNDAYS, FROM
TEN O'CLOCK A. M. UNTIL FIVE
O'CLOCK P. M.

DURING JUNE, JULY AND AUGUST,
THE MUSEUM WILL BE OPEN ON SUN-
DAYS UNTIL SUNDOWN.

41 EDWIN ROWLAND BLASHFIELD

Toleration; Lord Baltimore in Armor

60 EDWIN HOWLAND BLASHFIELD The Law of Remote Antiquity

Ate

SPECIAL EXHIBITION CATALOGUE Series 1911; No. 11

THE

CITY ART MUSEUM

ST. LOUIS

A COLLECTION OF DECORATIVE WORKS,
COMPRISING PAINTINGS, DRAWINGS,
CARTOONS, SKETCHES AND REPRODUC-
TIONS OF PAINTINGS BY MR. EDWIN
HOWL AND BLASHFIELD, MRS. MARY
FAIRCHILD LOW AND MR. WILL H. LOW

OPENING SUNDAY MORNING, MAY 21ST, 1911, AT
TEN O'CLOCK, IN GALLERY 16, IN THE EAST
WING, AT THE FOREST PARK ART BUILDING
AND CONTINUING FOR FOUR WEEKS

1874 HALSEY C. IVES, LL.D., DIRECTOR 1911

THE CITY ART MUSEUM, ST. LOUIS

BOARD OF CONTROL

WILLIAM K. BIXBY
President

DAVID R. FRANCIS
Vice-President

WILLIAM H. LEE
GEORGE L. ALLEN
THOMAS H. WEST

DANIEL CATLIN

EX-OFFICIO:

FREDERICK H. KREISMANN

as Mayor

BENJAMIN J. TAUSSIG

as Comptroller

PHILIP C. SCANLAN

as Park Commissioner

Director
HALSEY C. IVES, LL. D.

IN MEMORIAM

HALSEY COOLEY IVES, LL. D.

Born, Oct. 27, 1846. Died, May 6, 1911.

"Loving hands in his old home at Montour Falls,
X. !".. will consign to their final resting place the ashes
of Halsey C. Ives. We3 too, wish to join in spirit in
that sacred office and to honor St. Louis by paying our
tribute of gratitude to the memory of the man who for
nearly forty years made St. Louis Jiis home, its higher
intellectual ana" aesthetic interests his controlling ambi-
tion, and our Museum and the School Of Fine Arts
specifically his life work.

••The end Halsey C. Ives steadily held in view was
what he believed to be the best interests of the Art
Museum and the development of artistic taste and
knowledge in St. Louis. No phase of this work appealed
more potently to him than the carrying out of its policy
of enabling young men and women to make a better
living than they otherwise could, by designing, model-
ing, decorating, bookbinding, or through some other form
or artistic endeavor.

•'Many great artists hare received their first instruc-
tion in the school that Halsey C. Ives founded. Their
early training and encouragement at a critical stage
was received here, and Dr. Ives always took a keen and
watchful interest in their subsequent careers.

•'There never was a man more loyal to his friends
than Halsey C. Ives. 'By their works shall ye know
them.' This is the supreme and the final test, and by
that test our friend and his life work must be judged.

'•While others did their part in erecting this build-
ing and in securing the contents, yet, as the leu'ler
of art in St. Louis, this building, with what it holds
and what it means, stands as an imperishable monu-
ment to his memory. But, noble as this monument is.
there is a nobler. Down there it lies at the foot of the
hill — the Art School. There, where young hands ti.il
painfully toward skill, where young ideas are ripening
to fruition, where young souls dream dreams and young
hearts see visions, where young ambitions are rearing
their heads toward achievement — there, and in the
hearts of a multitude who hare gone forth front it into
lives of usefulness and beauty, there we must look for
the living and eternal monument of Halsey C. Ives."

— "From the Address of Mr. William K. Bixby, at the Memo-
rial Meeting, Before the City Art Museum, May 22d, 1911."

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13

A COLLECTION OF

DECORATIVE WORKS BY

THREE AMERICAN PAINTERS

INTRODUCTORY
Contributed by Request

The art of the mural painter in this country may be said to
be contemporaneous in its use with the centenary of American
independence- In 1876, the late John La Farge was entrusted
with the decoration of Trinity Church, Boston, and in that and
the following year William Morris Hunt painted in the Assembly
Chamber of the State Capitol at Albany, Xew York, the two
large panels of "Columbus, the Discoverer," and the "Flight of
Night Before the Dawn of Civilization" — works that have been
hidden from sight many years by a false ceiling made necessary
by the faulty construction of the Assembly Chamber, and which
have been finally destroyed a few weeks since by the hre that
entailed a partial destruction of the New York State Capitol.

Until 1893, on the occasion of the Columbian Exposition in
Chicago, however, American artists were offered little scope for
their decorative talent, though by exception two of those whose
work is here shown were thus employed, Air. Blashfield. who
executed an important ceiling for a private house in New York
in the early 80s, and Ylr. Low, whose reception room ceiling for
the Waldorf-Astoria antedates the Exposition by a year.

Since the day of the White City, mural painting has grown
to such extensive use that at present there are few cities through-
out our land that have not one or more specimens of this latest
and most vital manifestation of our native art, and few edifices

9

The City Art Museum St. Lou

is

of a civic, state or federal character are planned and erected
today without recourse to the vivifying art of the mural painter,
who with his brother, the decorative sculptor, are thus called
upon by the architect to complete by the depiction of a theme
that may be allegorical or historic but which must be typical, an
erection that would be otherwise, however perfect in its design
and proportion, cold and voiceless.

In its quality of evocation, in its capacity to explain the
purposes of a monument, may be found the secret of the growth
of mural painting in this country during the past generation,
and through its ministration in the widely scattered examples
that this period has seen brought into being we come closer to an
art for the people than through any other agency.

It is a common remark by critics of our art, especially by
those of foreign birth, that while we have developed in the United
States a school of landscape painting of surprising merit, we
have as yet little to show in figure painting. Such a conclusion
might easily be formed by those whose only knowledge of our
native work is acquired by the frequentation of our art exhibi-
tions. The successive showing of works of art in our City
Museum here in St. Louis would, up to the present time, seem to
prove no exception to this rule. It was for the purpose, there-
fore, to make the series of exhibitions here given more truly
comprehensive of all manifestations of American art that one
of the last acts of the life of our late Director, Halsey C. Ives,
was to bring together the collection here shown.

In a letter received by one of the three exhibitors, which
arrived only after the report of Mr. Ives' sudden death, he
speaks of his hope of exciting interest in mural painting in the
city for which he labored so long and earnestly, and planned
for his presence here in order to further his projects to that end.
His presence here is denied us, but the exhibition may serve not
only to fulfill its general purpose as an educational exposition
of mural painting, but as final evidence of our late Director's
hearty interest in every form of American art and his especial
desire to welcome this comparatively late growth, which permits
the mural painter to develop his theme upon a scale less restricted

10

An Exhibition of Decorative Works by Three American Painters

than that which limits the painter of the detached easel picture—
a desire which led Mr. Ives, in an earlier instance, to include
such representation as could be assembled in the Art Department
of which he was Chief in the Louisiana Purchase Exposition, in
St. Louis, 1904.

With the exception of the comparatively few figure painters

who contribute to our usual exhibitions, it is evident that a
goodly number of our artists who are best trained to cope with
the portrayal of the human figure, generally upon a heroic scale,
are engaged in mural painting. There is a sharp distinction to
be drawn between the easel picture and the mural painting. The
easel picture, whether of landscape or figure subject, may be best
described as a window opening upon a scene which has impelled
the painter to its portrayal. In this he is bound by no law other
than to render what he desires to make visible to others. The
whole force of the entire range of. color, or of light and shade
is at his disposal, and all the elements that go to make up a
picture may be called upon to this end ; for the work of art thus
conceived bears no relation to any other work of art but is
complete within itself.

Not so the mural painting. This must be conceived and
executed in obedience to its environment- In shape, in color, in
the scale of the objects represented it must conform to its
architectural surrounding. It is painted to be seen in a definite
place, in a light which can be made neither more brilliant nor
more dim, and in subject, it must serve to explain and make clear
the purposes of the building it adorns, as the grouping of lines
and masses within its field must harmonize with its architectural
adjuncts.

Hence, the only proper place in which to judge of the quality
of a mural painting is before the space which it has been made
to fill. Where it is seen at the proper distance, and where its
conformity to the rigid laws set down above, or its failure to
meet these conditions, can alone be fully judged. From their
great dimensions, it is ordinarily impossible to include the full-
sized mural paintings in our general art exhibitions, even if the
absence of the surroundings for which they are painted would

11

The City Art Museum St. L

0U1S

make such inclusion desirable, and therefore there are a great
number of our painters continuously busy upon this class of
work, whose names seldom or never figure in the catalogues of
our art exhibitions, and thus fail to the superficial observer to
be counted as trained and skillful figure painters.

This exhibition, therefore, contains, with one exception, no
work that is complete. For the most part, the drawings, color
studies and photographs which it presents, show the material
from which the definite resulting works were fashioned. In
nearly all cases the definite works are complete and placed per-
manently in various buildings throughout the Union, serving
their purpose of embellishing the edifices for which they were
designed, of explaining the purposes of these constructions, and.
above all, of bringing the saving grace of art in closest contact
with our people— a message of cheer and of beauty to a race too
intent upon its material task and too unthinkingly forgetful of
its spiritual alleviations.

The one definite work here shown should have a peculiar
interest for St. Louis. This is the large lunette entitled "Prim-
itive Woman," by Mary Fairchild Low (Airs. Will H. Low),
which, since adorning the Woman's Building at the Columbian
Exposition in Chicago, 1893, has been carefully preserved. This
canvas, sixty-six feet in length, is possibly the largest ever painted
by a woman, though in her treatment of the theme the artist
betrays no consciousness of any limitation of sex. With the
early career of Miss Fairchild, as she then was, in the School of
Fine Arts in St. Louis, which led to her being enabled, through
a fund initiated by Mr. Ives, to study abroad, our city is familiar.
Her brilliant record in Paris led to her selection, almost at the
debut of her career, to paint this great canvas. That she acquitted
her difficult task to the satisfaction of the most critical, all
who can remember the decoration in place at Chicago in that
momentous year of 1893 can testify. A series of fortunate events
enabled Mr. Ives to secure the work for temporary exhibition,
and, as the subsequent career of his whilom pupil has brought
medals and honors to the artist both abroad and at home, it is
somewhat in the nature of a home-coming, that "Primitive
Woman" should be shown in St. Louis.

12

An Exhibition of Decorative Works by Three American Painters

The drawings of Mr. Edwin II. Blashfield testify to both the
quality and quantity of the work which he has been called upon
to do since 1893, though even in this suggestive form but a small
portion of it is shown here. The mural paintings which he lias
signed occupy definite places from our seaboard on the east to
our far western boundaries. Few of our painters have done as
much as he and none have done better. Varying his themes, as
the demands of architectural fitness and of locality have dictated,
his work has always given evidence of the sure possession of a
design of monumental character, tempered by a rare sense of
beauty and expression in his heads, a rhythmic sweep of line in
his figures and draperies, and a full chromatic vibration of color.
An earlier picture by Mr. Blashfield, "The Flaming" Sword,"
shows like qualities, and is typical of the character of decorative
easel picture which he, in common with those who, like himself,
felt called to decorative work before the dawn of mural painting
in this country, contributed to our exhibitions in those days.

The third exhibitor, Mr. Will H. Low, is also a veteran of the
service to mural painting, if such a term may be used in reference
to so recent an art, his earliest work, as an assistant to the late
John La Farge, dating from 1881. His contributions to the
exhibition consist largely of the preliminary sketches, small scale
color studies, and photographs of completed works by which
the visitor may follow the methods of the mural painter from
the earliest inception of the work to its completion ; although
in his case as in Mr. Blashfield's the completed work is lacking.
From the careful quarter-size study in color of a panel like that
for the Federal Building in Cleveland, taken in conjunction with
the photograph of the completed work, a fairly complete idea
may be formed of the definite work, though again, as in all the
work shown here, it must be borne in mind that a mural painting,
from its first conception until it is placed upon the wall for which
it is designed, is simply a part of a whole, and its conjunction
with and submission to the work of the architect alone completes
it — gaining much from both the conjunction and submission and
adding something of light, life and grace to the solid con-
struction.

13

The City Art Museum St. L

OU1S

From "AN ARTIST'S PROGRESS,"
by MR. WILL H. LOW.

When the White City was built in 1893 art assumed a definite
place in our national life. Then for the first time we awoke to
a realization that art of the people, by the people, for the people
had come to us. It came to this New World of ours in the old
historic way. From the seed sown in the Orient, through Greece,
through Italy from Byzantium, wafted ever westward, its timid
flowering from our Atlantic seaboard had been carried a thousand
miles inland to find its first full eclosion ; not as a single growth,
but as the triple flower of architecture, painting and sculpture.

And, as always, it fulfilled its mission of mind over matter.
It was a foregone conclusion that the Columbian Exposition
would show triumphantly our material power, would demonstrate
the potentiality of our commerce, our agriculture and our mechan-
ical arts. Nor in the event, were these lacking, but the millions
who came to the exposition carried away as the one chief
impression, as its most potent appeal, that of the triumph of art.
From that day art has carried a new message to our people ;
since that day it has stood erect, has added to its stature, and
now, still in its youth, it takes its place, a younger brother, but
counting with its elders in the family of the art of the world.

Those who had watched the development of our art effort
with jealous eye had already seen, at the Paris Exposition of
1889, that the progress for which all had hoped, and for which
some had worked, was marked, and then and there our foreign
critics had acknowledged the promise of our art. But it was in
Chicago, in 1893, that there was gathered for the first time a
larger and more comprehensive exhibit of our painting and
sculpture, and there, in frank comparison with typical collections
of the work of other nations, our own more than redeemed that
promise. We showed that since the Centennial Exhibition in
Philadelphia, in 1876, there had been begun and carried forward
a school whose technical equipment evinced qualities that our
earlier artists had not mastered, while, if for this merit we were
indebted to the Old World, its expressional qualities were strongly
marked by the influences of the New.

Since then in St. Louis, at the Louisiana Purchase Exposition
of 1904, an even larger and more comprehensive showing of
American work has been had, and this time all forms of our art
were exhibited, for the applied arts were included. Here again
we met in friendly rivalry our brothers of the Old World, and
again the healthy and growing merit of our work was such that

14

An Exhibition of Decorative Works by Three American Painters

we can look forward to our future with assured certainty thai
it is not for a day and a momentary sojourn that art ha- traveled
westward.

Up to the time of the Columbian Exposition the whole sig
niheation of the word art, as understood by our people, and by
many of our artists as well, was centered upon unrelated and
independent works of painting- and sculpture. Our architects, it
is true, had already grown in numbers, and. the qualities of their
work had, under the double stimulus of thorough training and
abundant opportunity for practice, increasingly gained in struc-
tural and decorative merit. But it seldom occurred to our public
to consider architecture as an art or its practitioners as artists.
It remained, therefore, for the triumphal exposition of their
knowledge and inspiration at Chicago in 1893 to correct this error
and restore to the architect his place as an artist, and to his
work the prouder title of mother of the arts-

For, to all who follow the arts and also to the general public,
it was not the contents of the noble art palace which the genius
of Charles Atwood had conceived — that still stands in its partial
ruin in Jackson Park, Chicago, as one of the most beautiful
buildings in the world — which was the most significant indication
that a greater phase of art was disclosed to our people. No,
precious as were many of the exhibits in the art galleries and
in the other buildings of the exposition, it was not the jewels
but the casket which contained them that satisfied the primordial
hunger for beauty of all who saw them — which has remained
in our memory as a beautiful vision since that day.

Nor was it the architect alone to whom was due our grateful
admiration, though to him is due the stately order of the Court
of Honour, the Peristyle, and the planning of the whole mar-
velous dream come true. True mother of the arts, Architecture
had called in to her assistance her twin children, Painting and
Sculpture, and, working together as they never had before in
our land, they had produced a more glorious work of art than
the modern world has seen before or since.

It was this alliance of the arts that was new to us, that opened
before the artist a new field of endeavor, a larger, nobler employ
than the conditions existing before this happy conjunction had
accorded to his effort in this country.

A nobler employ, I insist, for if we pause to think a moment
we must agree that the production of sculpture and painting has
another and more important mission than merely to give pleasure,
and that the artist scarcely fulfills his mission who only seeks
to gratify some individual and exacting taste that may perchance
lower his creative ideals.

15

The City Art Museum St. L

ouis

This is to hark back once more to the days of the Columbian
Exposition, for it was there that was established a new outlet
to the artist's endeavor, one that has since then seen in each
succeeding year a new mile-stone added along the highway of
progress toward this higher standard which we must strive
unceasingly to attain. It began auspiciously, for there was much
of nobility in the universal agreement on the part of each
individual connected with the enterprise to consider it patriotic-
ally, and subjugate all the prejudices of sectional or private
interest to insure its success as a national effort.

This sentiment, I may say in passing, originated with the
capitalists who provided the means for the activity of those who
planned and carried out the unrivalled exposition buildings, but
with these last it entailed greater sacrifice perhaps, for they were
a band of men gathered from all parts of the country where they
had each worked, every man for himself, architects, painters
and sculptors, according to the principles imbibed from their
various education, made stable by the lessons learned in their
individual practice. With such material cohesion of effort and
uniformity of aim might have seemed impossible, but in fact
proved easy, so penetrated were one and all with the desire to
make each personal contribution swell the sum of a harmonious
common result. There must have been as well an instant recom-
pense of joy for each subjugation of self, as every worker
recognized how greatly his individual effort gained importance
as an integral part of the whole.

The men were all inexperienced, even those of longest practice
were only authors of isolated works, which, however important,
played no part in a great comprehensive scheme like that on
which they now entered- As this was true of the architects, it
was even more applicable to the sculptors and painters, most of
whom then and there entered upon a phase of their career so
strange to them that it was virtually a new element which came
into their life and their practice.

We all know how triumphantly they succeeded, for though
the buildings have vanished, though the sculptures of fountain,
court and terrace are gone, though the paintings of frieze and
dome have been stripped away, their memory remains and the
whole vast and beautiful conception still serves to illuminate
the lives of all those who were permitted to see it.

Yet this existing and physical effect, however vividly it is
retained in our memory or transmitted by description to unborn
generations, is but a part, and a small part, of the service which
this great exposition rendered to our art. Up to that time we

16

An Exhibition of Decorative Works by Three American Painters

had seen more than a century of effort upon these shores. We
had had good and earnest men, gifted in their craft, solicitous
to implant its beneficence as a part of our national life, but at
each step baffled by one of the very principles on which our
Constitution is based, that forbids the encouragement of private
interest at the public expense. They knew not less than we know-
today that no art could become stable and part of our national
patrimony that was subject to private encouragement alone.
They saw from year to year the fluctuations of individual taste-
as they saw our painting apparently hopelessly involved in the
production of small easel pictures such as alone the comparatively
small and ill-lighted houses that we built could harbor. They
saw sculpture for the same reason limited to portrait busts or
the rare statue of the statesman in broadcloth. They knew as
well as we do now that in the more fortunate countries of the
Old World art has been kept healthy and progressive through
the opportunities afforded to the artist to try his mettle with
themes of larger scope. But they were too good Americans to
wish, even if they could hope, to alter our prohibition against
special encouragement of private interest which has made us
one and all so sturdily individual.

17

1 KDWIN ROWLAND BLASIIFIELD

The Flaming Sword

EDWIN HOWLAND BLASHFIELD

"Born in New York, December 15, 1848. Pupil of I'.onnat in Paris.
Bronze meclal. Paris Exposition, 1900; gold medal, St. Louis Exposition,
1904. National Academy. 1888; member Society American Artists. i8Sj;
Mural Painters; New York Architectural League, 1886; Municipal Art
Society; National Sculpture Society; Fine Arts Society; Century Associa-
tion; National Arts Club; Artists' Aid Society of New York (hon.)l
National Institute of Arts and Letters. Also writer." — American Art
Aiut 11 a!.

PAINTINGS

1 The Flaming Sword

DRAWINGS

2 Study for Alma Mater: College of the City of New York

3 Study for figure, after draping, of University of Paris :

College of the City of New York

4 Study for figure of University of Heidelberg: College of

the City of New York

5 Study of figure, before draping, of University of Paris :

College of the City of New York

6 Study head of figure of Islam of University of Cordova :

College of the City of New York

7 Study head for figure of University of Alexandria:

College of the City of New York

8 Child with a Lamb

9 The Future : Decoration in Wisconsin State Capitol

10 Head for figure of Wisconsin : Wisconsin State Capitol

(red chalk drawing)

11 Lake Michigan: Study for figure in decoration in Wis-

consin State Capitol

12 Group of Men : Study, before draping figures, of pioneers

in decoration in Wisconsin State Capitol

13 Figure of Girl : Decoration in Wilkes-Barre Court House,

Wilkes-Barre, Pa.

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The City Art Museum St. L

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14 Profile of a Workman : Wilkes-Barre Court House,

Wilkes-Barre, Pa.

15 Claudia: Study for decoration in United States Federal

Building, Cleveland, Ohio

16 Popular and Military Music : Decoration for music room

of Adolphe Lewisohn, New York

17 Head of an Angel: Cleveland Federal Building, Cleve-

land, Ohio

18 Figure of Girl, Supplicating: Cleveland Federal Build-

ing, Cleveland, Ohio

19 Study Head of Bishop : Cleveland Federal Building,

Cleveland, Ohio

20 Crouching Figure : Study for decoration in Federal Build-

ing, Cleveland, Ohio

21 Study Head: In decoration for United States Court

House, Cleveland, Ohio

22 Nude Figure of Girl : Decoration referring to Hudson

Fulton celebration

23 Steam (Water and Fire) : Decoration referring to Hud-

son Fulton celebration

24 War ; profile head of girl : Baltimore Court House

25 Mercy and Justice : Study for figures in decoration,

"Toleration," in Baltimore Court House

26 Study for figure of Colonial Girl in decoration in Balti-

more Court House

27 Head of Woman : Iowa State Capitol

28 Ethel: Study for figure in panel decoration in Iowa State

Capitol, Des Moines, Iowa

29 Eleanor

30 Eleanor : Profile

31 Art: Study for figure in decoration in library of George

W. C. Drexel, Philadelphia

32 Music : Study for figure in decoration in library of George

W. C. Drexel, Philadelphia

33 Study head of Angel in Chancel of Church of the

Saviour, Philadelphia

34 Study Head in decoration of Church of the Saviour,

Philadelphia

20

An Exhibition of Decorative Works by Three American Painters

35 Study for figure,, before and after draping, in decoration

of Church of the Saviour, Philadelphia

36 Selma : Study for a decoration

37 Figure of French Explorer in Louis XIV costume:

Decoration in Senate Chamber, State Capitol of Minne-
sota

38 Mercy: Figure of girl

38a Study for fragment in Decoration of Iowa State Capitol

PHOTOGRAPHS

39 Washington Laying his Commission at feet of Columbia :

Large photograph of decoration in Baltimore Court House

40 Washington Laying his Commission at Feet of Columbia :

Small photograph of decoration in Baltimore Court House

41 Toleration ; Lord Baltimore in armor : Large photograph

of decoration in Baltimore Court House

42 Uses of Wealth : Large photograph of lunette in Cleve-

land Citizens' Bank, Cleveland, Ohio

43 Uses of Wealth : Smaller photograph of lunette in Cleve-

land Citizens' Bank, Cleveland, Ohio

44 The Law : Decoration in Cleveland Federal Building,

Cleveland, Ohio

45 Justice : Large photograph of decoration in Wilkes-Barre

Court House, Wilkes-Barre, Pa.

46 Girl Pioneers and Indians: Large photograph of decora-

tion in State Capitol, Pierre, South Dakota

47 Prairie Schooner and Oxen : Small photograph of deco-

ration in Minnesota State Capitol

49 Minnesota Riding on Grain Sheaves : Small photograph

of decoration in Minnesota State Capitol

50 Minnesota Riding on Grain Sheaves : Large photograph

of decoration in Minnesota State Capitol

51 Decoration of Senate Chamber of the State Capitol of

Minnesota

52 The Power of the Law : Decoration in the Law Court of

Appeals, Xew York City

21

The City Art Museum St. L

ouis

53 Forest Scene: Small photograph of decoration in State

Capitol of Wisconsin

54 Chancel of the Church of the Saviour, Philadelphla :

Small photograph

55 Music; A Processional with Pegasus and musical

figures: Ceiling in house of Adolphe Lewisohn, New
York

56 . Prudence Binding Fortune : Lunette in Prudential Build-

ing, Newark, N. J.

57 Thrift Driving the Wolf from the Door : Lunette in

Prudential Building, Newark, N. J.

58 Scaffold in Library of Congress, Washington, D. C.

59 Part of decoration in Library of Congress, Washing-

ton, D. C.

60 The Law of Remote Antiquity : Decoration in Court

House, Youngstown, Ohio

61 Hudson County Court House Pendentives : Youngstown,

Ohio

62 Hudson County Court House Pendentives : Youngstown,

Ohio

63 Hudson County Court House Pendentives : Youngstown,

Ohio

64 Hudson County Court House Pendentives : Youngstown,

Ohio

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An Exhibition of Decorative Works by Three American Painters

MARY FAIRCHILD LOW

Mrs. Will H. Low

"Born, New Haven, Conn. Pupil of St. Louis School of Line Arts;
Carolus-Duran and Julian Academy in Paris. Paris three years' scholarship
from St. Louis School of Line Arts; medal, Columbian Exposition, Chicago,
1893; bronze medal, Paris Exposition, 1900; bronze medal, Pan-American
Exposition, Buffalo, 1901; gold medal, Dresden, 1902; Julia Shaw prize,
Society American Artists, 1896; Associate National Academy, 1906; New
York Womans' Art Club; Womans' International Art Club, London." —
American Art Annual.

65 Primitive Woman: Decoration for Woman's Building,
World's Columbian Exposition, Chicago

25

66 WILL II. LOW "Let Him Without Sin Cast the First Stone'

An Exhibition of Decorative Works by Three American Painters

WILL H. LOW

"Born, Albany, N. Y., May 31, 1853. Pupil of Ecole des Beaux Arts
under Gerome, and of Carolus-Duran in Paris. Silver medal, Paris Expo-
sition, 1889; medal, Columbian Exposition, Cbicago, 1893; Lotus Club
Fund, National Academy of Design, 1895; silver medal Pan-American Expo-
sition Buffalo, 1901; member, International Jury of Awards, St. Louis
Exposition, 1904. Member, National Academy, 1890; Society American
Artists 1878; Mural Painters; New York Architectural League, 1889;
Centurv Association. Also writer." — American Art Annual.

PAINTINGS

66 "Let him without sin cast the first stone" (Owned by
Mr. Julius F. Janes)

SKETCHES AND STUDIES

67 Homage to Woman : Study for ceiling in Ladies' Reception

Room, Waldorf-Astoria Hotel, New York City

68 Cleveland Receives from Art its new Civic Plan : Study

for over-mantel panel in United States Federal Building,
Cleveland, Ohio

69 "Suffer Little Children to Come unto Me": Study for

panel in St. Paul's Church, Albany, N. Y.

70 Prosperity under the Law : Preliminary sketch for panel

in court room, Luzerne County Court House, Wilkes-
Barre, Pa.

71 Diogenes and the Honest Man: Preliminary sketch for

panel in court room, Essex County Court House,
Newark, N. J.

72 Sketch for Panel in Essex County Court House,

Newark, N. J.

73 The Garden of Diana ; Henri II and Diana de Poitiers

in the garden of the Chateau d'Anct : Preliminary
sketch for lunette in residence of Anthony N. Brady,
Albany, N. Y.

74 The Garden of Diana ; Henri II and Diana de Poitiers

in the garden of the Chateau d'Anct : Preliminary
sketch for lunette in residence of Anthony N. Brady,
Albany, N. Y.

27

The City Art Museum St. Louis

75 Tin; Garden of Diana; Henri II and Diana de Poitiers

jx the GARDEN of THE Chateau d'Anct : Preliminary
sketch for lunette in residence of Anthony X. Brack.
Albany, N. Y.

76 The Garden of Diana; Henri II and Diana de Poitiers

in the garden of the Chateau d'Anct : Preliminary
sketch for lunette in residence of Anthony N. Brady,
Albany, N. Y.

yy Portion of decorations in residence of Anthony N. Brady :
Half scale study

78 Portion of decorations in residence of Anthony N. Brady :

Half scale study

79 Portion of decorations in residence of Anthony N. Brady :

Half scale study

80 Portion of decorations in residence of Anthony N. Brady :

Half scale study

81 Portion of decorations in residence of Anthony N. Brady :

Half scale study

82 Portion of decorations in residence of Anthony N. Brady :

Half scale study

83 The. Tribute of the Old World and the New: Prelim-

inary sketch for proposed decoration in Hotel Manhattan,
New York

84 Spring: Study for stained glass in residence of Oscar

Straus, New York

85 Summer: Study for stained glass in residence of Oscar

Straus, New York

86 Autumn : Study for stained glass in residence of Oscar

Straus, New York

87 Winter: Study for stained glass in residence of Oscar

Straus, New York

88 The State: Preliminary sketch for proposed decoration

in Albany Savings Bank, Albany, N. Y.

89 The City : Preliminary sketch for proposed decoration

in Albany Savings Bank, Albany, N. Y.

90 The Colony : Preliminary sketch for proposed decoration

in Albany Savings Bank, Albany, N. Y.

'91 The Guitar: Sketch in style of Louis XV for music room'
in residence of the late Charles T. Yerkes, New York

28

An Exhibition of Decorative Works by Three American Painters

92 The Violin : Sketch in style of Louis XV for music room

in residence of the late Charles T. Yerkes, New York

93 Song : Sketch in style of Louis XV for music room in

residence of the late Charles T. Yerkes, Xew York

94 Painting: Sketch in style of Lonis XV for music room

in residence of the late Charles T. Yerkes, Xew York

95 Madonna della Pratinella, Our Lady of the Daisy and

Two Attendant Angels : Full size color cartoon for
stained glass window executed for the late Gardiner G.
Hubbard, and erected in Rock Creek Church, near Wash-
ington, D. C.

96 Madonna della Pratinella, Our Lady of the Daisy and

Two Attendant Angels : Full size color cartoon for
stained glass window executed for the late Gardiner G.
Hubbard, and erected in Rock Creek Church, near Wash-
ington, D. C.

97 "Honor thy Father and thy Mother": Half scale color

cartoon for stained glass window for Chester W. Chapin,
erected in Unitarian Church, Springfield, Mass.

98 The Dance: Preliminary sketch for one of the lunettes

in ball room of the Waldorf-Astoria, XTew York

99 Central portion of ceiling of ball room in the Waldorf-

Astoria, Xew York : Preliminary sketch

100 Central portion of ceiling of ball room in the Waldorf-

Astoria, Xew York: Preliminary sketch

101 Proposed decoration of a XAtional Bank Building : Pre-

liminary sketch

102 Original drawing for Diploma of Louisiana Purchase

Exposition Company

PHOTOGRAPHS

103 Interior of ball room, Waldorf-Astoria Hotel, showing

decorations in place.

104 Lunettes and Panels executed for ball room of Waldorf-

Astoria Hotel

105 Lunettes and Panels executed for ball room of Waldorf-

Astoria Hotel

29

The City Art Museum St. Louis

1 06 Lunettes and Panels executed for ball room of Waldorf-

Astoria Hotel
(The oval panels represent types of different nations, each
with a typical instrument of music. The lunettes repre-
sent the Dance, the Drama, Music of the Sea, Music of
the Woods, Music of Peace and Music of War.)

107 Golden Autumn: Ceiling executed for residence of W. V.

Lawrence, New York

108 Garden of Diana : Four panels of decoration executed for

residence of Anthony N. Brady, Albany, N. Y.

109 Garden of Diana : Central panel of decoration executed

for residence of Anthony N. Brady, Albany, N. Y.

no "Suffer Little Children to Come unto Me": Completed
panel executed for St. Paul's Church, Albany, N. Y.

in Diogenes and the Honest Man: Panel in court room of
Essex County Court House, Newark, N. J.

112 Prosperity under the Law : Panel in court room, executed

for Luzerne County Court House, Wilkes-Barre, Pa.

113 Cleveland Receives from Art its new Civic Plan: Over-

mantel panel, executed for United States Federal Build-
ing, Cleveland, Ohio

30

*8 WILL H. LOW

The State: Preliminary Sketch for Proposed Decoration
in Albany Savings Bank, Albany, N. Y.

COLLECTIONS NOW INSTALLED IN THE ART MUSEUM

CURRENT SPECIAL, EXHIBITIONS

Decorative Work by Three American Painters: Mr. Edwin
H. Biashfield, N. A.; Mrs. Will H. Low, A. N. A.; Mr.
Will H. Low, N. A gallery 16

Paintings by Mr. Lewis Cohen gallery 19

Etchings, etc., by Mr. C. F. W. Mielatz, A. N. A gallery 25

Recently purchased for the permanent collections.
Etchings, etc., by Mr. Joseph Pennell, N. A gallery 20

Recently purchased for the permanent collections,
(A special catalogue is issued for each of the above-named collections.)
Central American Antiquities (Expedition of the St. Louis

Society of the Archaeological Institute of America).. gallery 12

OTHER INSTALLATIONS

Paintings lent by Mr. George B. Leighton gallery 14

Paintings belonging to the W. K. Bixby American Art Acquisi-
tion Foundation gallery 15

Paintings lent by Mrs. O. E. Forster gallery 22

Other paintings, in galleries 32, 6, 7, 14, 15, 23, 28, 30 and 31

Drawings and sketches galleries 4, 5 and 9

Arundel prints, of masterpieces of painting gallery 1

Greek sculpture galleries 17 and 24

Roman and Renaissance sculpture gallery 8

and northwest alcove of central sculpture hall.
Modern sculpture, principally installed in the central sculpture hall.
Antique and classic bronzes, installed decoratively in various galleries.

Egyptian and Assyrian antiquities, including sculpture gallery 21

Medallions in cases gallery 1

Japanese and Chinese Art, chiefly in galleries 6 and 7

also galleries 13 and 1

Metal work, chiefly in gallery 29

also galleries 15 and 1

Pottery, etc., chiefly in gallery 13

Glass galleries 13 and 20

also galleries 21, 23, 20, 1. 6, 7, etc.

St. Elizabeth Mosaics (presented by Mr. Adolphus

Busch, 1905) central sculpture hall

Fabrics, etc., chiefly in galleries 29 and 7

also in Indian and other collections.
American Indian Handiwork —

The Dyer Collection galleries 5, 4 and 9

The Andrew Collection and other exhibits galleries 1 and 4

Louisiana Purchase Exposition Memorial Collection, lent by

Hon. David R. Francis galleries 10 and 11

Architectural models, etc galleries 17 and 8

and central sculpture halL